Dave Ostrem's paintings usually show us an artist at work in a
live-work studio space that is remarkably like the one that Ostrem
inhabits on Vancouver's Downtown Eastside. Like Vermeer before him,
Ostrem incorporates a window into his paintings, but, unlike Vermeer,
Ostrem gives us the view from his window, not just the rosy glow from
the exterior world. Ostrem's view is of a Vancouver, or a Vancouver
look-alike, that seems to be suffering from a terrible bout of
flatness, even though his world is painted with brilliant hues
reminiscent of the primary colours in Mondrian's paintings. Each Ostrem
painting is a formal proposition about the structure of the world; his
ideas about structure would be familiar to Mondrian, and each version
of the artist-in-the-studio that he creates explores yet another
paradox of human existence in the modern world.
Dave Ostrem's painted world has a comic book appearance, but his
ever-present invocation of research categories and subject-areas, as
manifested on the spines of the thousands of books that inhabit his
paintings, will remind viewers of Levi-Strauss's dictum that humans
will only find names for those things that are truly important to them.
Ostrem's paintings are a kind of universal catalogue of those areas of
importance that, in turn, provide a context for the making of
contemporary art.
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Dave Ostrem
Reading Art
1978
Oil on Canvas
43 cm x 59 cm
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